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Day 2 was the day of honing navigation skills. The Baeblemusic.com Party at the Scoot Inn lined up promising acts that alternated between indoor and outdoor stages. A park-style area was decorated with paper lanterns and framed by two bars and a food cart, and listeners relaxed on tree stumps and patches of grass. Seabear, a sextet from Iceland, melded strings and acoustic guitars into a pleasant and exotic folk rock. Inside, Washington DC’s These United States upped the energy with a Southern rock lilt and grimy Gospel flavor, and back in the sunshine, Australia’s Dappled Cities played avant guarde electro-pop. Off the main drag at the 21st Street Co-Op, a “clothing optional” shindig hosted Austin natives, MoTeL Aviv (pic below), in an abstractly painted dorm common room. I found the city’s friendliest taxi-driver en route to Hyde Park Bar and Grill (South) for The Deli’s second sponsored show, and completed my night with some 6th Street sight-seeing.
The Deli Magazine and CitizenMusic joined forces to educate Austin on some of the best artists from New York at Hyde Park Bar and Grill (South). A spacious restaurant and bar, home to the best French fries around, opened into a patio where a tent housed the live music for the evening. A SXSW suppertime party, the “NYC in ATX Showcase” entertained a group of all-aged diners, families, and rock ‘n rollers with five Big Apple acts, including Blackbells (picture below), New Madrid, The Shake, Deadbeat Darling, and Black Taxi. Blackbells offered guests free EP’s and a superb set after traveling thirty hours straight to Texas. The fiery New Madrid pushed forward with outstanding vivacity, and The Shake’s second evening at Hyde Park resulted in enthusiastic feedback and a new population of fans. The wind picked up and carried Deadbeat Darling’s blissful and stirring reggae-rock throughout venue, and Black Taxi almost blew a fuse with their high-powered instrumentation and charisma. Mission “Rock Austin” accomplished. - Meijin Bruttomesso
Backed by the funk infused bass of Sean Stillinger and the hip hop influenced drum beats of Darrin Thomas, virtuoso guitarist Renzo Staiano and front woman Alex Lee of Le VICE kept bodies moving last Thursday at El Rio. With a little help from some friends singing back up and playing keyboards, the band celebrated the release of their self titled debut by playing several tracks from the album including the catchy come on Uh Huh and introspective Why Fight.
Studio SQ also set up shop recording the whole thing on some technological device that baffles the technologically inept [like myself]. Renzo and Alex really know how to work a crowd and the photo above shows a rare moment when the two were not in continuous motion. There was a lot of love exchanged between the stage and the crowd and the band played until well past midnight when the audience continued to press for more.
If you missed the party, fear not, you can catch Le VICE in two weeks at The Rickshaw on April 2nd.
The first day of SXSW is like the first day of school; you’re excited, nervous, and seemingly prepared. Unlike school, however, SXSW is never boring. After my first ever flight through Detroit and an early morning dash to registration at the Austin Convention Center, I scampered off to Rusty Spurs for Deli sponsored Music Tech Mash Up party, where line-up improvements kept me corralled. The event spanned two days and squeezed in fifty bands at Rusty Spurs, a tri-room gay saloon (how cool is that?) decorated with cowboy boots and Texas trinkets. The Mash Up party celebrated the collaboration of various industries, music, merchandise, and new media technology. Upon arrival, sound spewed from every corner of the venue as bands performed on the main indoor stage, in the lounge, and on the outdoor patio. Mid-day, the barbeque was fired up to feed South by South West goers with free burgers and chicken while they enjoyed the second day of the extravaganza’s hefty line-up. Some of the early-morning performers included LA-based, disco-influenced pop-rockers, Foster the People, dancey R'n'B from Toronto, Curtis Santiago, and Las Vegas’s new-wave, electro-pop, Imagine Dragons. Pleasant surprises added at the last minute, such as Brooklyn’s Black Taxi, and Washington D.C.’s alternarockers, Hotspur, caught the ears of those passing by and reaffirmed excitement for SXSW.
Following a quick Tex-Mex bite and nearly sun-burning in a line for the Paste Magazine Party at The Galaxy Room, I witnessed the last of the Suckers’ (top pic) set and the first part of rock-meets-singer/songwriter Austinites, Roky Erickson with Okkervil river (bottom pic). The day pushed on as I went off the beaten path to Hyde Park Bar and Grill(South) where The Whiskey Rebellion’s evening of music and literature featured NYC’s The Shake who enlivened the venue’s calm St. Patrick’s Day. Due to overcapacity venues back on 6th Street, my night was curtailed. Tomorrow would be a new day with much music to hear. - Meijin Bruttomesso
This entry is from our Open Blog. You too can post about your band by clicking here.
"SanFolk Disco is the brainchild of JL Stiles and he is the glue that will hold each of these bills together like a secretly broken vase by opening and hosting each show. If you do not know of his incredible talents already, here are three facts you need to know immediately: Fact #1: JL Stiles is the freakiest white fingerpicking guitarist in this great country right now. Fact #2: JL Stiles believes he has come up with the algorithm for the pure soul of music. Fact #3: JL Stiles has a mind that sees music in a similar way to how J.S. Bach saw music, however Bach never played the blues. "Simultaneously classic and original, Stiles lays into his 12-string guitar with the vigor and ambition of a streetwise punk who just discovered Leo Kottke" (Blues Revue)
SanFolk Disco is a new monthly series of shows that aim to hover over the bountiful but disparate music scene of the great, legendary city of San Francisco, Ca, and, just as in bygone eras of pre-history, reach a bony hand from above to three blazing comets of musical ice and fire, and collide them monthly at a specified place and time in The Universe. The next show is on April 15th at Cafe Du Nord, SF, 8pm, featuring Bart Davenport, J.L. Stiles & Kacey Johansing, the following show will be May 13th, also at Cafe Du Nord, SF, featuring Eric Mcfadden, JL Stiles & Jenny Kerr. SanFolk Disco demands that you become a good citizen and have a damn good time while doing it.
With a new week upon us it's once again time for another round of show highlights from around the city.
On Thursday the 18th at the Cafe Du NordLove is Chemicals (who recently impressed Nicole at a free Noise Pop Happy Hour Show) will be opening for HIJK's CD release party along with Rademacher, 8pm. Free copies of HIJK's CD will be given out with the purchase of advanced tickets, so head over here to get your ticket and album.
They who run things over at Hemlock have put together quite the eclectic show this Friday. For something a little different than the usual indie rock that graces our ears check out local electronic artist Deceptikon with out of towners Tik///Tik, Captain Ahab, and Twin Crystals, 9:30pm.
Saturday night Xiu Xiu will be returning briefly to San Francisco to play an all ages show down at Bottom of the Hill, 10pm.
With turn out last Thursday at Milk being quite impressive, kudos should be thrown in the direction of Epic Sauce for putting together a great show. The crowd was thick and all ears were open, and though (much to everyone's chagrin) the drink specials ran out in all of about 5 minutes, there was for the most part a good night of music to be had in the Haight.
Silian Rail were the first up laying down there minimalist post-rock. I've seen Silian Rail a few times, and while I like their music on a fundamental level I'm usually left wanting more by the end of their sets. There is something of an oxymoron in minimalist post-rock as that style in many ways demands an orchestra. There is always a certain amount of tension in the give and take of instruments in any particular post-rock song -- when split between several instruments there is fascinating power relationship to listen for, but with just the two it becomes more of a fight for one to be heard over the other. These two talented musicians are making interesting music, but if they fleshed out their sound with more bodies on stage they could take their music from intriguing to downright compelling.
White Cloud came up next, and it's been a while since I've seen them. They seem to have shed most of their garage-rock elements and replaced them with reverb-drenched psyche. Still just as fascinating to listen to, White Cloud's wall of sound hit the crowd like a tsunami. Nabbing little snippets of unique tones, I sat in the incredibly dim light and swam through their layers of echoing sounds.
French Miami closed out the night and were everything you would expect. Playing their math-rock influenced dance-punk, they hammered away squealing guitar lines over synth sounds and heavily hit drums. Playing mostly from their last record, we were lucky enough to catch a couple of new tunes. It would seem they have a new record coming out this summer, anticipation abound.
Minus the almost immediate disappearance of cheap drinks, Epic Sauce put together quite a good show. This is the first in a weekly series from them so keep an eye on their site for future gigs and if you can make it, head up to Milk next Thursday for the next show.
The Deli this year will sponsor two parties during SXSW:
MUSIC-TECH MASHUP PARTY!
The Music Tech Mashup Showcase is a two day/three stages event during SXSW's transition from Interactive Week to Music Week. Featuring a ton of great bands, brands, and emerging new technologies, the Mashup party celebrates the opportunities presented through the convergence of these industries. Hosted by Shinobi Ninja and Coast to Coast Models & Events and presented by GreenShoeLace, HunnyPot, The Deli Mag and Planet Ill, this showcase will assemble the movers and shakers of these converging fields.
Artist shortlist: Shinobi Ninja, Vaxhaul Broadcast, McAlister Drive, Bamboo Shoots.
The Deli Magazine NY and CitizenMusic have teamed up to bring some of the best Alt Rock bands from New York to Austin for South By Southwest 2010! "NYC in ATX" will take place on Thursday, March 18, at Hyde Park Bar and Grill (South Location).
Music will begin prompty at 6pm!
Here's the kick-ass line up! 6.00: Blackbells
6:50: New Madrid
7:40: The Shake
8:30: Deadbeat Darling
9.20: Black Taxi
And, to make it rock even harder, it's FREE and ALL AGES. So, if you're heading down to SXSW or if you're already in Austin, come experience some of the greatest rock n roll, and best french fries [so we've been told] New York City has to offer!
With the feel of a desperate man at his breaking point, beseeching an immeasurable abyss, Weekend’s debut 10-inch EP is a considerable needle to thread though the ear. Though fuzz inadequately describes the level of distortion on the guitars, Weekend’s hypnotic noise-rock owes much to A Place to Bury Strangers and the traditions of My Bloody Valentine and Yo La Tengo, but imbues the complexity of that shrill, droning musical style with the tender naïveté of best of saccharine pop melody.
Rocking back and forth like a hand on a cradle, “All American” opens up the EP with equal parts penetrating guitar and a lulling rhythm and melody line. It has the soothing quality of falling asleep with your head next to an open window in a car speeding down the highway. As the song progresses and the guitars layer, Weekend creates an intricate space of almost white noise in which the listener may wander about. There is much to explore in the delicate layers of texture, while a disembodied voice continuously ask us where we are going.
Flipping over, “Youth Haunts” opens up with a piercing squeal that rang through my apartment, startling me and waking the neighbor’s baby. Needless to say, he wasn’t happy. With a driving melody like pistons slamming, “Youth Haunts” ebbs and flows like an elaborate sea of noise. Between the two I’d say this is my favorite. Though both have a lot to offer, “Youth Haunts” has wraith-like eeriness to it with several lovely different sounds to seek out in each listen.
Permeated with tangible chills, Weekend’s EP is certainly not for the faint of heart. Layered in textures of fuzz and distortion, this EP offers as much as it asks from the listener and should be a part of any noise-connoisseur’s collection.
-Ada Lann
Weekend's debut 10-inch can be purchased here from Mexican Summer. Download cards are available with purchase.
It seems uncanny that Maus Haus (a large group of musicians) can maintain staying power without crumbling under the weight of their own eclecticism; most other groups with similarly eccentric sound have very few members. Yet Maus Haus seems to have found a way to push onward and upward defiantly, following last years strikingly unique Lark Marvels, born out of living room musings, with an equally impressive collection of tracks built around the 7-inch EP Winter/Zig Zag. For all of Lark Marvels' cavalier creation, and any aloofness that may have permeated those recordings as a result, Maus Haus’ latest recordings reveal a band further coalescing and maturing their sound.
With something of an eerie feel, “Winter” on Side A of the 7 inch, descends on you like a heavy blizzard in a swirl of bass-y synthesizer sounds and mono-syllabic vocal harmonies -- certainly a staple of music with a heavy psyche influence. With the air of a dispassionate homily, “Winter” creates the feeling of a cold deserted street complete with a disembodied voice advising us to “look at the mess we’ve made." A part of me wants to think this is the band telling us to pay close attention to the mess of sounds we’re about to be thrown into. If I had to guess I'd say these boys have been listening to a lot of Syd Barrett, as the lyrical style of “Winter” (and many of these new tracks as well) implore the somewhat syncopated rhythmic singing style that owes a lot to Syd’s influence.
Kicking off like a fall down a deep hole, Side B’s “Zig Zag” thunders along like a demented fun-house ride. Contrasting “Winter’s” trundle, “Zig Zag” is driven by an upbeat tempo, a powerfully forceful bass line, and a cavernous layer of vocals. Certainly the more complex of the two (if its feel is not apparent in its title) “Zig Zag” changes rapidly, jerking the listener along it’s intricate journey.
Though these two songs make a brief and very dense 7-inch, it seems Maus Haus was not entirely done, releasing these two songs along with an additional three as the digital EP Sea-Sides. Sounding like it could very well have been left off Lark Marvels “Skyward Housing,” the first of the remaining digital tracks is a well-earned bit of levity from the darker tone of the 7-inch. True to its title, “Skyward Housing” builds a rising crescendo of synthesizer sounds in an electronic whirlwind. With a driving siren like melody, "Skyward Housing" builds up the movement towards the more ambient plateau that closes out the EP.
Creating a subdued mood with a more cavernous electronic soundscape, the final tracks "Sunshine" and "Sneaky Feelings" come well-versed in the lessons of Brian Eno circa Another Green World. The tones of these tracks carry less of a punch then the preceding ones, relying instead on a fuller more ethereal construction with multiple layers of synthesizer sounds. There is a nice calmness at work in these two that function as a soothing dénouement from the more intense moments earlier in the EP.
A fantastic follow up, Maus Haus’ latest recordings carry themselves with the gravitas of a band really getting comfortable in their own groove. Thematically there is something much darker at work in these new recordings, but the chills instigated by the eeriness of the sounds are exciting to experience nonetheless. Let’s hope for a full-length in the near future.
-Ada Lann
The 7-inch Winter/Zig Zag can be purchased here from Rocinante Records. Download cards for Sea-Sides are available free with the purchase of a 7-inch.
Of course we encourage you to check out our latest presents show this week (Thursday at El Rio featuring Le Vice, F*uck, I'm a Ghost, and Red Blue Yellow; 9pm) first and foremost; but, if you just can't make it or still looking for other shows this weekend here are some other highlights from around the Bay Area.
Local show listing site Epic Sauce has put together a fantastic line up this Thursday at Milk Bar. The first of a new weekly series Epic Sauce will be putting on at this not often traveled Upper Haight venue, this Thursday's line up features French Miami, White Cloud, and Silian Rail. Free and boasting excellent drink deals (really stiff competition for us.... oi) so if you're not at El Rio for the Deli presents show you have no excuse not to be at this one. RSVP here.
Out at the Knockout on Friday the Frankenstein band Moonman, comprised of members from various other SF bands, will be having their album release show. Head out to this Mission venue to get your weekend dose of psyched out country-rock, 9pm.
Former band of the month Dangermaker will be playing an acoustic set at the Pirate Cat Radio Cafe on Saturday at 5pm. Pop on down for an early start to your evening and catch their performance, or, if you feel like staying home tune into the podcast here.
That about covers it for this week. Bands remember: if you have an upcoming show be sure to fill it in our calender and you may be featured here. Otherwise, hopefully most of the rest of you will be making it down to our El Rio show this Thursday.
With the feel of a desperate man at his breaking point, beseeching an immeasurable abyss, Weekend’s debut 10-inch EP is a considerable needle to thread though the ear. Though fuzz inadequately describes the level of distortion on the guitars, Weekend’s hypnotic noise-rock owes much to A Place to Bury Strangers and the traditions of My Bloody Valentine and Yo La Tengo, but imbues the complexity of that shrill, droning musical style with the tender naïveté of best of saccharine pop melody.
Rocking back and forth like a hand on a cradle, “All American” opens up the EP with equal parts penetrating guitar and a lulling rhythm and melody line. It has the soothing quality of falling asleep with your head next to an open window in a car speeding down the highway. As the song progresses and the guitars layer, Weekend creates an intricate space of almost white noise in which the listener may wander about. There is much to explore in the delicate layers of texture, while a disembodied voice continuously ask us where we are going.
Flipping over, “Youth Haunts” opens up with a piercing squeal that rang through my apartment, startling me and waking the neighbor’s baby. Needless to say, he wasn’t happy. With a driving melody like pistons slamming, “Youth Haunts” ebbs and flows like an elaborate sea of noise. Between the two I’d say this is my favorite. Though both have a lot to offer, “Youth Haunts” has wraith-like eeriness to it with several lovely different sounds to seek out in each listen.
Permeated with tangible chills, Weekend’s EP is certainly not for the faint of heart. Layered in textures of fuzz and distortion, this EP offers as much as it asks from the listener and should be a part of any noise-connoisseur’s collection.
-Ada Lann
Weekend's debut 10-inch can be purchased here from Mexican Summer. Download cards are available with purchase.
